Audio Damage – AD-202 v1.0.0 for WiN & Mac

The AD-202 is a single-oscillator monosynth, designed in the style of those little gray boxes from the early 1980s. It features a single VCO with saw, pulse, sub, and noise parameters, all fed into a 24 dB shelving filter, a single envelope, a single LFO, and very little else. All the main controls are on the front panel, with a single path from the knob to the sound.

Beneath the vintage panel lies a thoroughly modern instrument. Mono or eight-voice polyphony, an analog crossover for each voice, tempo-synced bass with start delay, MPE, MTS-ESP microtuning, and a post-VCA color section with preset saturation, filter controls, distortion, and tilt EQ. The most vintage-feeling aspect is the ergonomics. Everything else is anything but vintage.

Possibilities

• One VCO with four frequencies – 16′, 8′, 4′ and 2′ – based on an alias-free sawtooth waveform and a DC-free double-peak pulse at any width. Pulse width is manually adjustable or modulated by the LFE or EG.
• Sub Oscillator – a trigger divider based on the main oscillator, running one octave down, two octaves down, or generating a two-octave pulse, filtered and DC-protected in the same way as the hardware divider chain.
• Source Mixer with Pre-Filter Saturation – Independent levels for sawtooth, pulse, sub signal and noise are summed in a soft clipper. The Pre-Filter Sat control increases the clipper load eightfold without additional gain, so the mixer overdrives in the same way as with all four sources wide open.
• 24dB Ladder Filter – A resonant, four-pole low-pass filter with its own Drive control, soft clipping in the feedback loop, and gain compensation to keep the signal level from dropping as the load increases. Cutoff frequency is adjustable via the envelope, LEG, keystroke tracking, and velocity, with varying degrees of intensity. 
• A single, exponential , time-sharing ADSR segment with the same re-trigger behavior as the original: a new attack starts from wherever the envelope currently is, rather than from zero. VCA triggered from the envelope or directly from the output. 
• Delayed Start Low Pass – Triangle, Square, Stepped Random, plus Sample and Hold Noise, from 0.1Hz to 30Hz, or synced to the host tempo. The Delay knob increases the depth of the sound by a full four seconds with each new line, so vibrato appears after the note has sounded. Additional re-trigger for each note. 
• Three trigger modes – Gate takes the lowest note and re-voice, Gate plus Trig takes the last note and re-triggers the envelope, and LFO re-triggers the envelope once per LFO cycle for a hardware-like play behavior. 
• Portamento – Play time up to five seconds, with an Auto mode that toggles only between overlapping notes, and a fixed melody control of plus or minus 50 cents. 
• Mono or Eight-Voice Multi-Voice – The same timbre spread in eight directions, with equal panning strength across the stereo field, defined by the Spread parameter. Mono mode preserves the original set of note priorities, legato behavior, and auto-glide rules. 
• Age – Fixed random drift in pitch, pulse width, cutoff frequency, LFO speed, and mixer levels for each voice, updated for each instance of the plug-in. No two instances of the AD-202 in the same project will ever sound the same, and that’s the whole point. 
• Output Stage – Post-VCA distortion and a bipolar slope EQ with a 1 kHz cutoff on the MODS panel for the pedal and the channel EQ you’ll be accessing anyway. 
• MPE and Aftertouch Routing – Full MPE with per-note pitch bend and pressure, four aftertouch directions (oscillator modulation depth, filter modulation depth, filter cutoff, LFO speed), and separate attack and release smoothing for pressure. 
• MTS-ESP Microtuning – Continuous retuning from any MTS-ESP master plug-in, applied per note and per voice, with glide preserved across retuning. 
• Velocity – Independent velocity sensitivity controls for amp and filter, both with negative offset so that hard pressing follows the panel settings and soft pressing is attenuated.